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或許正如哲學家海德格(Martin Heidegger)對藝術的評論,小山俊孝的攝影是關乎人的辯證與探索,是人存在歷程的共時性見證,具體而微地表達海德格哲學論證的存在本質—非隱蔽性的呈現(aletheia),即古希臘哲學中的真理。
文 小山俊孝/陳泓鑫


A Short Poem of Human Existence


Existentialism believes that human being is a unique situation. Unlike other things, the essence of men is not an instrument “for doing something.” Men’s existence comes before essence; only after birth do they start searching for the meaning of life, and they will not be abandoned or lose the value of existence if they were useless.


Men are born free and can exist without being attached to holistic concepts like country, nation, or social environment. This is also why men can return to the minimal state of “men” are “here” “now”—that is, who, when, and where, and through this state they gradually construct the meaning of own existence.


Searching for emotions and meaning of humanity through photographing “traces.” The objects captured, such as leather and wall, have all been worn out due to long-term use, and are full of memories of men’s interaction with them. That is also why these objects are often replaced quickly by a newly manufactured product, becoming a part of the age of consumerism. Correspondingly, humanity has gradually weakened due to this consumption habit, surrendering to the general environment.


In this age of material civilization, if we adopt the perspective of material objects, we will instead find humanity that transcends the objects.


The method of shooting close-ups enables objects to break free from the whole, displaying the unique inner features of an individual. The abstract images formed by the traces construct the freedom of men’s will, while also allowing viewers to become aware of the hidden people, events, memories, and emotions, behind these objects—that is, the existentialist writing of “men” are “here” “now.” The abstract artistic concept also symbolizes men’s pursuit of self-consciousness, which is the warm calling and light of humanity in material civilization.


Perhaps just like philosopher Martin Heidegger’s critique on art, Koyama Toshitaka’s photography is about men’s dialectics and exploration, a synchronized testimony of men’s existential journey, concretely expressing the essence of existence in Heidegger’s philosophical argument in detail—aletheia, which is the truth in ancient Greek philosophy.


Photography is the search for the introspective landscape of being men. Just like writing a short poem; when you stand up, a trace of residual heat remains on the chair, and that is us—that is a man.


Text Koyama Toshitaka/Chen Hong-Hsin

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